ABSTRACT
Among the many functions and goals of the Centre for Performance Research, its desire to archive the ephemeral and transitory art of performance is one of its most valuable but aporetic tasks. To define Field Station 4 between the actual and the historical and aporia and existensia is to set out some of the central and productive tensions in the field of performance studies. If we define aporia – following Webster's Dictionary – as an insoluble because contradictory but therefore productive philosophical puzzle, then we are also describing some of the intractable problems facing performance studies in general.
